Georg Schönberg Vídeos
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2024-05-07
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Vladimir Samoylovich Horowitz Chopin Bach Debussy Schumann Alexander Scriabin Sergei Rachmaninoff Tchaikovsky Thomas Beecham Liszt Toscanini Brahms Scarlatti Haydn Clementi Beethoven Samuel Barber Prokofiev Kabalevsky Schonberg Carnegie Hall 1757 1903 1915 1925 1928 1932 1933 1936 1940 1950 1953 1965 1985 1987 1989
LIKE and SUBSCRIBE for more videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Vladimir Horowiz : Carnegie Hall Rehearsal, 7 January 1965 (Bach, Chopin, Debussy, Schumann, Conversations etc...) Performer : Vladimir Horowitz, piano Date : 7 January 1965 Place : Carnegie Hall Program : Rehearsal 00:00 Horowitz improvising 03:24 Conversation and Horowitz testing the piano 05:24 Horowitz improvising II 10:31 Conversation I 11:28 Bach : Toccata Adagio and Fugue in C Major, BWV 564, I Preludio 17:57 II Intermezzo Adagio 22:15 III Fuga Moderamente scherzando un poco umoristico 27:19 Conversation II 28:15 Chopin - Polonaise Fantaisie in A Flat Major Op. 61 41:19 Conversation III 41:42 Debussy : Etudes Livre II No. 11 Pour les arpeges composés 45:45 Conversation IV 47:12 Schumann : Fantasie in C Major Op. 17 I Durchaus phantastisch und leidenschaftlich vorzutragen fragment 58:08 Conversation V 58:24 Chopin : Nocturne No. 15 in F Minor Op. 55 No. 1 BIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41. Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later. “Piano playing consists of intellect, heart and technique,” Horowitz said. “All should be equally developed. Without intellect, you will be a fiasco; without technique, an amateur; without heart, a machine. The profession has its perils.”
Louis Andriessen Brouwer Claron McFadden Cristina Zavalloni Casella Marcel Beekman Reinbert Leeuw Hartley Gilman Zielinski Dutch National Opera 1959 2011
00:00 Part 1 - The City of Dis, or the Ship of Fools 19:59 Part 2 - Racconto Dall'inferno 39:24 Part 3 - Lucifer 1:03:08 Part 4 - The Garden of Earthly Delights 1:19:50 Part 5 - Luce Etterna Composer: Louis Andriessen Electronic Music: Anke Brouwer Beatrice: Claron McFadden Dante: Cristina Zavalloni Lucifer: Jeroen Willems Casella: Marcel Beekman Children’s Chorus de Kickers of Music School Waterland Orchestra: Asko|Schönberg Conductor: Reinbert de Leeuw Dutch National Opera Film by Hal Hartley Editor: Kyle Gilman Robby Duiveman: Costume Design Scott Zielinski: Light Design A powerful, beautiful, and fun opera, very justly winning the 2011 Grawemeyer Award Unfortunately, the film is now out of print The libretto and translation are available here: (http•••)
Louis Joseph Andriessen Reinbert Leeuw Susan Narucki Susan Bickley Vries Barbara Hannigan Sweelinck Witt Asko Ensemble Dutch National Opera 1003 1603 1939 1940 1998 2021
Composer: Louis Joseph Andriessen (June 6, 1939 – July 1, 2021) Electronic inserts by: Michel van der Aa Libretto: Peter Greenaway Orchestra: Schönberg Ensemble and Asko Ensemble conducted by Reinbert de Leeuw Catharina Bolnes, Vermeer's Wife: Susan Narucki Maria Thins, Vermeer's Mother-in-Law: Susan Bickley Saskia de Vries, Vermeer's Model: Barbara Hannigan Chorus: Dutch National Opera 00:00 Scene 1: Vermeer is away in The Hague. 03:09 Catharina's first letter to Vermeer: Saskia is returning to her home in Dordrecht. 06:12 Maria's first letter to Vermeer: She asks him to return soon. (7:53) Insert: "Violence" 08:17 She describes how the family misses Saskia (8:45) 10:03 And when Johannes met Catharina. 11:15 Catharina gave Saskia a shawl, once a gift from Johannes. 13:16 End of the letter: Catharina will write tomorrow about Cornelia's birthday. (14:19) Signatures 16:03 Scene 2: Cornelia's Birthday 19:40 Catharina's and Maria's second letters: Cornelia has turned 9. Maria is trying to have Saskia come back. (22:01) Insert: "explosion" 22:33 Catharina talks about the children: Gertruyd cut her hair to send to Saskia to get her to come back. 24:10 Maria describes her plan to get Saskia back. 25:50 Saskia's first letter to Johannes: she has arrived safely in Dordrecht. 29:36 Catharina and the family are excited for Johannes's return (30:27) Signatures 31:28 Scene 3 - 1 33:51 2 36:15 3 - Cornelia has swallowed varnish. (37:24) Chorus: Maria has bought ultramarine for Johannes. 38:37 4 - Duet of Maria and Saskia: Catharina is displaying symptoms of pregnancy. 41:03 5 - Catharina: Cornelia is sick from the varnish. 43:19 6 - Saskia: the baby will be a boy because of the blue Catharina is wearing. 45:46 7 - Maria: Catharina seems sicker this time. 48:04 8 - Saskia's signature (49:51) Catharina's signature 50:42 Scene 4 - 1 - Saskia's second letter: she asks how the children are doing 52:57 2 - Catharina worries about the family's finances. (54:23) Insert. Maria comments on the women in Johannes' paintings. 55:34 3 - Maria: "It's all women that you paint." (57:04) (57:35) Insert 58:24 4 - Catharina writes about how much they miss Johannes, and about their future. 1:00:49 5 - French invasion (1:02:13) Insert: "interruption streetfights" 1:03:16 6 - Saskia sings Sweelinck's "Mein junges Leben" 1:04:43 7 - "My mother bought me some music sheets..." (1:06:14) Maria sees Catharina writing 1:07:02 8 - Maria: "You paint us all writing so often." (1:07:47) Saskia tried to convince her father to visit cousins who live near Johannes. 1:08:58 Scene 5 - A little dance with the children 1:12:05 Catharina's fifth letter: a family outing at the fortifications (1:14:30) Insert: "halberds savagery" 1:15:14 Saskia: Her father introduces her to a potential suitor. (1:16:15) Joachim and Abraham show up to meet Saskia as part of Maria's plan. 1:17:34 Saskia's outing with Abraham. Maria hopes her plan is working. (1:19:24) Insert: "riots in snow" 1:20:08 (1:21:03) Maria: Saskia is coming back. (1:22:23) "Come back, Saskia." 1:23:35 Scene 6 1:26:21 Catharina and Maria's final letters: Johannes is coming home soon 1:28:31 Catharina worries what would happen if Johannes never came back (1:29:20) Insert: "The murder of Johan de Witt" 1:31:08 Catharina: "I would buy myself a mirror." Maria tells him about the gifts the children have made for his return. 1:33:24 They ask Johannes to come back quickly. (1:35:14) Maria's signature 1:35:40 A knock at the door 1:37:06 Saskia's final letter: she is coming back. (1:38:31) Saskia and Catharina are excited to see Johannes again. 1:39:14 Catharina's and Saskia's signatures. A flood envelops the city. Score available here: (http•••)
Ernst Haefliger Eiji Oue Arnold Schönberg Minnesota Orchestra
End of a live broadcast of Arnold Schönberg's epic cantata GURRELIEDER. Narrator: ERNST HAEFLIGER, tenor/speaker MINNESOTA ORCHESTRA EIJI OUE, conductor The rest of this performance is here: (http•••)
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): S...